Cellopickin' sensation, William Jack, launches his 2nd album
London-based Australian cellist, and DEBUT’s Secret Concert series house favourite, William Jack announces his second solo album, This Old Cello Box, Vol.2
William Jack, cellopickin'
You're known for creating your own style of cello playing with a plectrum - Cellopickin' - What is this? What inspired you to play the cello in this unconventional way?
My first instrument and continuous obsession is guitar. My music heroes from a young age were basically all the guitar gods! I always wanted to bring more of this style, sound, aesthetic etc. to the cello. It was never really suitable to experiment with this “horizontal mode” during my classical studies. I was there to learn how to build control and technique from a traditional standing first, which of course, is an ongoing journey. It wasn’t until I left college that I realised that I’m free to do whatever I want with the cello! It’s quite liberating. I don’t believe an instrument should have any preconceptions. I think having the R and L hand techniques from guitar has allowed me to basically translate them over. Honestly, I love the cello all the more for it. I love having the versatility. It has opened up a whole new sound world to me. I don’t believe there’s anything a cello can’t do. I can’t always bring two instruments on the road, so the cello feels like my ultimate music compadre.
From listening to you perform, I can strongly hear the Australian influence in your first album. Can you give us an insight into your influences for the 2nd album?
My first album certainly had various influences from Australia. It’s very important to me for Australian sounds to be present in my music. What exactly that is, and how to express home is a constant discovery. Vol.2 further explores the idea of repurposing the cello into new directions and embracing a variety of cultures and styles. There are a lot of my early music roots that influenced this album. Blues, Jazz and Rock ‘n’ Roll. They remain driving forces in what I do on the cello, but “Overseas Stamp”, for example, has influences from Middle-Eastern and Asian music, which is a more recent fascination. I’m using a wooden peg as a kind of capo to change the pitch of two of the open strings for this piece without having to tune the cello. By shortening the length of the string, it completely changes the timbre of the instrument. “Portocello” has some world music influences as well, mixed with various jazz style licks. I’ve also starting using a guitar slide on the cello to create a real country western vibe. I find it exciting to mix things all together live and on a record.
Any particular nice stories about pieces from the new album, or anything interesting to look out for?
I finished the final touches to “That’s Dallas” after a unique experience at a folk festival on a Texas ranch last year. I made a few rookie errors camping and missed a flight from Dallas to London, but luckily had some very kind friends drive me to Austin to get on another flight. I was so excited when I finished this track at the festival, I actually wanted to record it in Texas, but I had no idea back then what I wanted to do with it. I’m also a big fan of The Office US. There’s an episode with Kevin and the board game Dallas. Long story, but I recommend watching. I’m trying not to take this whole cellopickin’ thing too seriously and just have fun with it!
The album starts with a “Theme”, and concludes with a “Variation” on the theme. I love albums that tell a story and have subtle links throughout. There’s another track called “Tell Tchaikovsky The News” which is a nod to one of my music heroes, Chuck Berry, and also the great Tchaikovsky. I’m hoping this doesn’t seem disrespectful or anything to Classical fanatics. I like to think he wouldn’t mind a rock ‘n’ roll jam!
“A Favourite Place” came from essential walks in nature parks, both in London and back home. I noticed both locations having benches with plaques dedicated to loved ones marking a favourite place. This inspired a sort of sad but sweet folk piece.
Tell us a bit about the writing process?
The writing process for this album has been a real jumble of ideas! It feels good to finally put this one all together. I actually started a completely separate project for vocals and cello after my first album. It’s on the back burner; I might come back to it later once I have a better sense of what I want it to sound like.
The majority of this music I wrote during my last trip to Australia. I had some down time during December when I wasn’t playing shows. My mind felt free to reflect on recent experiences and translate certain moments into music.
What’s next for William Jack - are you touring the album? Got any big shows coming up?
I’m very excited to be touring the album from August onwards, starting with summer gigs in Scotland surrounding 2 performances at the Edinburgh Fringe. I’m also heading to Ireland and Central Europe in October before starting Part 1 of the UK leg in November.
Performing live to people, in person, is my favourite type of music making.
DEBUT’s monthly classical music experience south of the river at Brunel Museum’s historic Grade II* listed Thames Tunnel Shaft, in collaboration with Midnight Apothecary.
MUSICIANS
Lizzie Holmes soprano, host & founder
Sam Peña resident pianist & improviser
Beren Kader Fidan soprano
Pedro Lopez flute
Przemek Winnicki piano